Sound Check! by Edco Ireland

A new and comprehensive programme for Leaving Certificate Music COURSE A

“It is clear, informative and comprehensive. The material is accessible and would appeal to a wide range of students.” – LC Music Teacher, Meath

“The author is clearly both exam and subject-focussed and this really appeals to me as a teacher.” – LC Music Teacher, Dublin

The Educational Company of Ireland

Please contact your Local Edco Representative to book a presentation and request a sample copy, Ph: 01-4500611, Email: info@edco.ie, Website: www.edco.ie

Sound Check! is a new programme for Leaving Certificate Music Ordinary and Higher Level students and covers all sections of the Music Course A, including the Practical Exam. Written by a highly experienced Music teacher and examiner, Sound Check! builds on students’ experience of music at Junior Cycle and prepares them for all aspects of the Leaving Certificate course and exam, giving them the knowledge and skills to succeed. The new Sound Check! package includes a: • Student Book • Free Student e-Book • Free Student Audio App • Free Teacher’s CDs

STUDENT BOOK Covers all sections of the Leaving Certificate Music Course A including: ʞ aural skills ʞ music theory and composition ʞ Irish music ʞ performance and technology ʞ the four prescribed works Visually attractive with a colourful design and clear visual aids Each unit features: Detailed Notes, Analysis and a Revision Section

Units provide students with opportunities to develop their musical creativity, sensitivity and potential, through active involvement in performing, composing and listening to music

Introduction

For many of us, listening to music is a pleasure. We listen to music at different times throughout our day – when we are on the move or when we are taking a few minutes to relax and enjoy our favourite songs. Streaming services such as Spotify, Apple and Amazon have made it easier than ever to access and listen to vast amounts of music on demand. Listening in this way is passive; we are hearing the music but it doesn’t take up our full concentrat ion; we can do other tasks as we listen. Whilst studying music we must move from passively hearing music to actively listening to it so that we can focus in on the finer details. When we actively listen to music, we pay attention to the working parts or layers within the music. By exploring music in this way, we can come to understand how a piece of music has been put together, and we can appreciate the elements that are working together to produce a really great piece of music!

Content encourages students to listen purposefully to a wide variety of musical styles and genres alongside their prescribed works

Developing good aural skills is essential for Leaving Cert Music. This unit aims to help you to develop your aural awareness and aural literacy so that you can navigate the Listening Paper. Moving from passive to active listening requires that we start to look for clues about as we listen. what is happening

musically

Slowly’

This is an example of a song that could easily encourage us to just it, without noticing too sit back and relax as much of what is going we listen to on in the music itself.

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New exam format from 2021

œ J

j œ œ

j œ 4

b œ & b bb J

œ œ

b & b b b 44

Moderato

™

œ J

œ œ œ œ

Encourages musical literacy through focused tasks and assessment activities

Glen Hansard ‘Falling

1–2

Activities have been designed to meet varied learning needs, incorporating collaborative learning techniques and assessment practices Focuses on success through engagement with success criteria, past exam questions, sample answers and marking schemes

Learning to Listen

Aural Skills

Composition questions formatted to reflect the new exam paper layout

The Educational Company of Ireland

Please contact your Local Edco Representative to book a presentation or request a sample copy, Ph: 01-4500611, Email: info@edco.ie, Website: www.edco.ie

A new and comprehensive programme for Leaving Certificate Music COURSE A 4 Woodwind

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poco piii f

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Violino I

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Violino II Viola Violoncello e Contrabasso

Contains a wide range of activities designed to support learning and build confidence

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Detailed guidance on preparing for Practical Exams (including technology materials and unprepared tests)

Note that sounds

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Piatti Gran Cassa

French Horn in F Written

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Example:

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Timpani in E-H-Fis

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‘Lingo Lab’ encourages students to self-assess their understanding of important musical terminology and concepts

Tchaikovsky Romeo and Juliet Fantasy Overture, 3rd version

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Fantasy Overture

Summative assessment activities are provided within each unit

Bass drum

œ œ œœ œ œ œœ

Transposing instruments:

pitched in E, B and F#

Cymbals

Bass trombone Tuba

Bassoons (x2)

Sometimes music written for a specific Flauto picc. instrument will sound at a different pitch 2 Flauti from the pitch written 2 Obo1 on the stave. The pitches we hear are 2 Clarinetti usually lower than in A the written notes. These instruments Corno inglese are called transposing instruments. We can identify 2 Fagotti the transposing instruments by spotting which I II instruments have key 4 Corni in F signatures that are III IV different from the flute, oboe and violins, 2 Trombe for example. in E The clarinet, cor 2 Trombeni anglais, trumpet, and tenori French horn all sound Trombone Basso lower than their e Tuba written part.

Timpani (x3)

Trumpets in E (x2) Tenor trombones (x2)

Oboes (x2) Clarinets in A (x2) Cor anglais

Double basses Harp

Percussion

Horns in F (x4)

˙˙ ˙˙

Violas Cellos

Each chapter features comprehensive revision and assessment material

Brass

Piccolo Flutes (x2)

Tchaikovsky’s Romeo and Juliet

Strings 1st violins 2nd violins

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Music Maps to assist with students’ revision of Prescribed Works Highlighted key terms and definition boxes are featured throughout the text

4 4

Supports teachers’ diverse use of methodologies, varied assessment practices and digital learning technologies

Listeni

which spans Romantic era, belongs to the Classical era. 1880, this work era followed the Composed in The Romantic formal 1820 to 1910. elegance of the the years from the balance and is recognised for Haydn. The Classical era as Mozart and such sers from the by compo to move away structures used composers began y, r emphasis centur greate enth started to place During the ninete , legends, and balance and interest in myths form of Their rules sion. period. established m of expres ity during this emotion and freedo for their creativ on imagination, e the inspiration beauty becam nature, love and

Melody

Melody is a successi on of pitches that are arranged to provide the tune or melodic shape. The melody may move by step or by leap or it may make use of repeated notes. Movement by step is known as stepwis e or conjunct moveme nt, while music moving in leaps is described as disjunct. Stepwise (conjunct) movement

Adagio Largo

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27/01/21 7:17 PM

FIRST SUBJECT (STRIFE THEME) Feuding families FRIAR LAWRENCE The mediator Tension is building

NGING KEY, T EX CHA TU BY RE

BRINGS THE HAT OV NT ER IO T CT

A CONCLUDIN G

D PE

N ATA F O

Disjunct movement

ES ARE HEARD

AIN THE MES FR O

FUNERAL MARCH LOVE MOTIF

CODA Track 4.10

FIRST SUBJECT (STRIFE THEME) SECOND SUBJECT (LOVE THEME) FRIAR LAWRENCE THEME Climax

FIRST SUBJECT = STRIFE THEME Monatagues & Capulets SECOND SUBJECT = LOVE Part A (Romeo) Part B (Juliet)

All moving by step (2nds)

RECAPITULATION Track 4.9

DEVELOPMENT Track 4.8

EXPOSITION Track 4.7

INTRODUCTION Track 4.6

r œ œ œ x œ œ œ œj ‰

4-5

1–47

by step

FRIAR LAWRENCE THEME The voice of reason F# minor Hymn-like melody

Starrred notes - move down

sfz

MAIN THEM DS A ET AD O

OTH

Movement by leap (disjunc

œ œ

œ œ œ œ

t movement)

Octave leaps A leap consists of several notes. Composers often use octave leaps in their is a leap of eight notes. melodies. An octave leap Below is the opening phrase from ‘Somewh ere over the Rainbow octave leap followed ’. Sing it together and by step movement in notice the the first two bars Vivaldi’s leaps. Gloria also opens with octave

b & b bb

Some · where

œ œœœ œ

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or directions for how loudly of a piece of music. These between the loudness or softness ns below the stave (or Dynamics are simply indicated by abbreviatio be played are usually include those listed below. softly the music should used dynamic markings The most commonly them if there are two).

E —F# = 2nd (inverted)

Notes moving up by step

Dynamics

ITIO N

Andante

)

Presto

Analysis of Overture

y, No.104 Movt. 2 (opening

Moderato

Haydn London Symphon

S ARE DE EME VE TH LO

1–46

w U œ w

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21st Century

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TI ME

20th Century and Post ‘Great war’ Years

c.1910

RST

Fermata

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Romantic

c.1860

1–26

œ = 120

#4 œ œ œ & 4

Classical

c.1820

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1–26

Melody

œ œ œ œœ œœ œ œ œœ œœ

one.

1–26

composer U is sometimes used by composers The fermata symbol symbol is placed above hold in the music. The to create a pause or to how it sounds example below and listen the note. Look at the

Rhythmic

Baroque c.1750

work. tra was entury orches The nineteenth-c , and the Orchestration: classical period than that of the considerably larger

IFIED SONATA OD FO M

tempo marking for each

and suggest a suitable

1–26

Listen to three excerpts

speed

A little… Much or a lot…

Molto…

Renaissance c.1600

OA ET UR

Allegro

Fast

Slow down gradually Return to the original

A tempo Poco …

œ œ

œœœœœ

Medieval c.1400

UMENTATION TR ET NS C. ,I

Tempo

Description

Ritardando

Speed up gradually

œ œ

œœ œœ

RODUCTION INT HE

how but they do not tell us there are in each bar, another how many beats or pulses could be very fast and Time signatures tell us piece of music in 4/4 beats are moving. One fast or how slowly the next to each term. could be really slow. of the tempo marking terms and write a description Research the following

Accelerando Rallentando/

terms

Rhythmic

c.1150

o · ver the rain · bow way

high

1–47a

Vivaldi Gloria (opening

)

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“I like that the requirements for both ordinary level and higher level are covered as in some publications the ordinary level candidate is ignored.”

Tchaikovsky’s Romeo and Juliet Fantasy Overture

Allegro œ™ œ œ œ œ œ œ œ œ œ œ Giunt’é la Primaveraœ ™ œ œ œ œ œ œ œ # ## œ œ œ œ œ œ & # c J

using the following are indicated on the score

. .

Air)

Changes in tempo

No.6

2 Melody

. .

‘Sliabh na mBan’ (Slow

first to use tempo markings, composers were the a piece of music. Italian Four Seasons. The term Tempo is the speed of from the music of Vivaldi’s stave. Here is an example writing them above the Allegro means fast.

Brahms Hungarian Dance

1–26

Diminution Diminution occurs when a musical idea is repeated but the rhythmic value of the notes first heard has been reduced; shorteni ng the rhythmic pattern. Augmentation This is where a musical idea is repeated but the rhythmic value of the notes first heard has been increased; lengthening the rhythmic pattern.

1–4

Tempo

this in Tempo changes recognise changes like important that we can by can change, and it is tempo changes made The tempo of the music and try to spot the seven obvious. Listen to this excerpt and others are more the pieces we listen to. Some changes are subtle excerpt from his work. Brahms in this short

tic compo sion they Melody: Roman emotional expres provided for the , dramatic melodies as they Chromaticism in their music. anging wished to convey leaps and wide-r to the drama of melodies added : Chromaticism c ies. Romantic melod harmonic or melodi e. c semiton often homophoni movement by Melodies were s of polyphony. with some section s included Melodic theme ing Leitmotiv: a shorttune’ which is a recurr tiv, leitmo re l musical ‘signatu represent a centra a person, theme used to associated with ter within the t. theme or charac theme or concep

is a traditional feature free rhythm. Free rhythm pulse is said to have e typically in free rhythm. Music that has no steady air, a style of performanc to this example of a slow of Irish music. Listen that features free rhythm. style of performance Plainchant is another

etc.

œ œ œ ? bb c œœ œ œœ œ œ œ œ œ œœ œ b

etc.

pulses

j‰ œœ J

two pulses three

p sotto voce legato

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Romantic Style Features of the sers preferred long expansive

1–3

1–2

pulses

˙ ˙

two pulses three

œ œ œ™ œ™

œ™ œ™

Circle your answer below.

œ™ œ™

œ œ œ™ œ™

Track 3: Johann Strauss Radetzky March Op. 228

? bb c b

1–3

b & b bc

Allegro (œ = 144)

b & b bc

œœ œ œ

in B minor

This helps stronger than others. that some beats are pulse, you might notice and try to work out When listening for the to the two excerpts again of a piece of music. Listen us to identify the metre two or every three beats? stronger beats. Is it every how often you hear the

2nd movement

1st movement

Learning to Listen

Chopin Waltz No. 10 Op. 69 No. 2

j Adagio (œ = 60)

Mozart, Piano Sonata K457

our feet to or clap along Pulse even beat that we tap in music. It is the regular left, right, left, right sound Pulse is the steady beat to a steady beat; the ticking to music. Soldiers march of a ticking clock. The with when we are listening pulse, so too is the sound feet is an example of of soldiers’ marching even. the music in the excerpt. of sounds are steady and pulse the quietly to below and tap your feet Listen to the two excerpts

Element and Description

1–2

Learning to Listen

for with more specific instructions metronome markings Later composers used of beats per minute. indicate the exact number performers. These markings

rture et Fantasy Ove Romeo and Juli aikovsky Peter Ilyich Tch ng Paper:

When?

2 SOUNDCHECK

Romeo Tchaikovsky’s asy and Juliet Fant Overture

– LC Music Teacher, Limerick

The Educational Company of Ireland 11

A new and comprehensive programme for Leaving Certificate Music COURSE A

New Student Audio App – this free App allows you to listen to audio tracks for your Sound Check! programme. Just download the Edco Audio App to your mobile or desktop device or you can also listen online. Free Teacher’s CDs

“More than anything else, I am relieved that the issue of the gap between Junior Cycle and Leaving Certificate is being addressed.” – LC Music Teacher, Dublin

Digital Resources Teachers can access the Sound Check! interactive e-book at www.edcolearning.ie, plus the audio tracks in digital format. The audio tracks are available on our Edco Audio App on Play Store and App Store.

ABOUT THE AUTHOR Laura Lynch has over 15 years’ experience teaching Music in the Irish education system. She has been teaching Music in St. Patrick’s Classical School in Meath since 2008. She also wrote a highly successful series, Sounds Good 1 & Sounds Good 2 for the Junior Cycle. Her qualifications include: • Graduate of Mater Dei Institute of Education, now part of DCUs Institute of Education • Master’s Degree in Education: Innovative Teaching and Learning from Maynooth University.

The Educational Company of Ireland Please contact your Local Edco Representative to book a presentation or request a sample copy, Ph: 01-4500611, Email: info@edco.ie, Website: www.edco.ie